[AMR295] Vol. 42
Cezary Gapik (also know as CEZAR) was born in Czestochowa, Poland in 1963. He started his musical activity in 1980 as an animator of punk rock bands. Soon enough he discovered new sounds which were brought by the punk rock rebellion. Cabaret Voltaire, Public Image Ltd. or other “new wave” bands had an enormous influence on the perception of music by Cezar. Plunging into the fundaments of musical avant-garde (Karlheinz Stockhausen, Morton Feldman, Luc Ferrari, La Monte Young), the appearance of new creative possibilities (computer) together with the works of artists like Mick Harris (Lull, Scorn), Illusion of Safety, etc. had definitively shaped the musical direction towards which Cezary Gapik follows. His musical creation is based on drones and micro-tonal sound planes interlaced with abstract “images” (field recordings) or computer-processed synthetic sounds (glitch). In his compositions one has the opportunity to feel the fascination of the artists like Luc Ferrari, Philip Glass, La Monte Young and the masters of isolationist ambient - Lull, Thomas Köner, Nocturnal Emissions. After individual experiments with dark electronic vibes in the mid-nineties Cezar met in 1998 Bartlomiej Kuzniak (bass, sax & electronics musician), with whom he created QG/GQ project. A little trace of this cooperation is a track “Z1” on ”C9H13O3N” album released in limited, 200-pieces edition under the independent label Polycephal. The year 2000 brought another collaboration of Cezar with musicians like B. Kuzniak (mentioned above), Joe Giardullo (sax – New York’s jazz avant-garde), Dawid Kosiarkiewicz (sax, prepared piano), Zbigniew Szmatloch (prepared guitar & electronics) and Andrzej Zaleski (drums) which evolved into a concert tour across Poland. The memorable concerts were performed in Warsaw (Centre of Modern Art in Ujazdowski Castle) and in Szczecin (“Kana” Theatre). Part of the Warsaw concert has been included on the “Dokument. Program Strefa” compilation released in 2005. Cezar is very often invited for co-operation by grind-core and death-metal bands like YATTERING, for whom he composed drones which were used to fill the gaps between tracks on the album “Murder Concept” (2000). He can be called a “fulltime” intro & outro specialist for the band INFERNAL WAR which with his contribution released albums “Terrorfront” (2005) and “Redesecration” (2007). Cezar has also an episode with computer gaming IT Industry on his account where he composed an ambient soundtrack for the PC game “Painkiller” released in 2004 and acclaimed by critics. Up to year 2006 Cezar has composed in his own self-created studio a large volume of sound material which he regularly released on CD-R discs in limited editions for his friends and fans. Originating from this collection - the album “Artefakt” (2000) has been highly valued and recognized by critics and finally re-released by a netlabel Torrentech in 2009. The years 2007 and 2008 can be considered as a pause in Cezar’s creation while the year 2009 brought an increased artist’s activity. After the re-release of “Artefakt” and release by a Russian netlabel DNA Production of the retrospective compilation „The Collection 1998-2006” Cezar brought to life his own label - C.G. Drone Records. The first “fruit” of this project was a mini CDr (3”) „The Limestone EP”. At the same time Cezar tightened his cooperation with DNA Production which resulted in his new EP to be also available for download (mp3 & FLAC format) from this netlabel’s catalogue. The year 2009 has also brought a new cooperative project – this time with German ambient musician Siegmar Fricke which concluded with an album CEZAR | PHARMAKUSTIK – „Enukleacja”. The album could be described as a cool, isolationist and dark-ambient creation. The year 2010 opened with the release in January by French netlabels Le Colibri Necrophile, Earsheltering and M.i.r.e.n.a. of the compilation „Nektar 2017 Volume 2”. Cezar’s contributed to this production with the track „#0421”. In February C.G. Drone Records released „Zaduszki (All Saints Day) EP” which is a re-edition of the tracks previously composed in the years 1998 and 1999 under the same title. What concerns the future – “there is still a lot of unrest in my soul which I desire to transform into sound” – says Cezary Gapik.
April 13, 2010
Music for men not boys
This is not your average idea of electronic music. No musical wallpaper here, my friends. This is an album that demands the listener sits up and take notice of what is going on, and participates fully in the experience just to keep up. It veers heavily into industrial noise territory, doom and pain abound, but never fear, the music is highly approachable and exceptionally rewarding for those willing to set aside any preconceptions and accept the album on its own terms. The result is transformative, an album that is equally at home as the backdrop for work or study as it is satisfying for the active listener. Well worth the effort for those with a taste for an adventure.